Every time you show something to somebody they're going in one direction, when they see that thing you did they're going to go off track - maybe towards a direction that you think is more important. They'll be more discerning, they'll probably see things a little bit more profoundly, they'll spend more time trying to understand what's in front of them.

Illusions as bad as mine make people aware of the fallacies of visual information and the pleasure to be derived from such fallacies.

The moment when one thing turns into another is the most beautiful moment. A combination of sounds turns into music. And that applies to everything.

It's not about fooling somebody, it's actually giving somebody a measure of their own belief: how much you want to be fooled. That's why we pay to go to magic shows and things like that.

Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.

I hate to say I'm a photographer, because I learned photography as I went along. But I also hate to say I'm a painter, a draftsman, even an artist. I think it's good when you're confused about what you are; it means you haven't defined yourself as an artist yet.

I'm not creating art that starts with politics or starts with ethics. I feel I am a conceptual artist because my art is more concerned with epistemology than ethics or politics or even aesthetics.